Sattvati, Sāttvatī: 3 definitions
Introduction:
Sattvati means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstraSāttvatī (सात्त्वती, “grand style”) is the Sanskrit name for one of the four styles (vṛtti) of dramatic performance (prayoga). According to Nāṭyaśāstra 1.41-43, the four styles were originally prepared by Bharata and presented to Brahmā (who created the Nāṭyaveda from the four Vedas). The term is used throughout nāṭyaśāstra literature.
According to the Nāṭyaśāstra chapter 22, there are four varieties of the grand style:
- utthāpaka (challenge),
- parivartaka (change of action),
- saṃlāpaka (harsh discourse),
- saṃghāta (breach of alliance).
One of the Four Styles (vṛtti) of dramatic production (nāṭya).—Sāttvatī (the Grand)—The presentation which depends for its effect on various gestures and speeches, display of strength as well as acts showing the rise of the spirits, is considered to be in the Grand Style (Nāṭyaśāstra XXII. 38ff). This is applicable to the Heroic, the Marvellous and the Furious Sentiments.
Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)Sāttvatī (सात्त्वती) or Sāttvatīvṛtti refers to one of the four Dramatic styles (vṛtti) in Indian Dramas, according to the Viṣṇudharmottarapurāṇa, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.—There are four kinds of vṛttis (dramatic styles) accepted in the Viṣṇudharmottarapurāṇa. According to the Viṣṇudharmottarapurāṇa, sāttvatī-vṛtti mainly displays vīrarasa and Ārabhaṭīvṛtti exhibits raudrarasa. The Sāhityadarpaṇa agrees on it. Because, according to the Sāhityadarpaṇa, sāttvatī-vṛtti is associated with the qualities of power, heroism, leaving, forgiveness and straightness and the vīrarasa is seen to be delineated by these qualities. Abhinavagupta states that sāttvatī-vṛtti is the action of mind and ārabhaṭī-vṛtti is the action of body.
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).
See also (Relevant definitions)
Starts with: Sattvativritti.
Full-text (+36): Samlapaka, Utthapaka, Samghata, Vritti, Straightness, Power, Forgiveness, Arabhati, Arabhativritti, Dasharna, Saurashtra, Traipura, Sauvira, Arbuda, Hastinapura, Arvuda, Malava, Anarta, Madra, Marttikavata.
Relevant text
Search found 9 books and stories containing Sattvati, Sāttvatī; (plurals include: Sattvatis, Sāttvatīs). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
1.3. Elements of Drama (f): Dramatic Style < [Chapter 3 - Drama and Dance]
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Gati in Vṛttis and Pravṛttis < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Relevance of Gati in Rūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Literary and dramatic elements in Nāṭyaśāstra < [Chapter 1 - Nāṭya]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Sāttvatī-vṛtti (noble qualities and righteousness) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Vṛtti (mode of conduct)—Introduction < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Vṛtti (Bearing) and Diction < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Analysis of Guṇas, Vṛttis and Rīti < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Analysis of Vīra-rasa < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Analysis of Adbhuta-rasa < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 3-6 - Ḍima rules < [Chapter 4 - Ḍima (critical study)]
Dhanañjaya’s methodology of discussion < [Introduction]
Part 14 - Conclusion < [Chapter 4 - Ḍima (critical study)]
Kavyamimamsa of Rajasekhara (Study) (by Debabrata Barai)
Part 2.5 - Genesis of Rīti, Vṛtti and Pravṛtti < [Chapter 5 - Analyasis and Interpretations of the Kāvyamīmāṃsā]